The Runway Reviewed: London Fashion Week '12 Eclipses New York

Julianne Escobedo Shepherd compares and contrasts recent runway happenings on both sides of the Atlantic

Throughout the whirlwind of New York Fashion Week, the pressure to make designs salable echoed through even some of the most critically praised collections, capitalist impact evidenced by muted looks across lines tempered by the bitter taste of mediocrity. Every season this happens: London Fashion Week comes along with its convivial irreverence and English aplomb and puts an exclamation point on things, making some mainstream New York designers (barring the ones we love, of course) seem a like a bland bunch. Not that London designers don't have the same economic pressure to move units, but maybe they're feeling emboldened — the Guardian reports that globally, British designers are enjoying a 20 percent boost in sales.

On the higher end of hats, Philip Treacy, the master milliner, heavily referenced African military gear through the lens of Michael Jackson— whose actual wardrobe was used to showcase the looks — turning The Glove into a side-cocked beret and even re-envisioning the Neverland Ranch as a wearable bit of art. That and his phenomenal headpieces sculpted to look like silk scarves in a Sahara windstorm were a revelation, so it was disappointing that he allowed muse Lady Gaga to open the show wearing a sheer fuschia "burqa", a tone-deaf appropriation in extremely poor taste given the tenor in the Middle East at the moment. If it was an act in solidarity — Jackson was all about global peace — Gaga probably could have picked a better time to don it rather than on the runway of the guy who makes Kate Middleton's Anglican wedding hats.

Moving on! Swedish line ACNE and Glaswegian designer Jonathan Saunders each reinterpreted casuals in their own wild-but-wearable worldviews, giving the information society a kick in the pants with officewear inspired by grunge and raves, respectively. Acne went quite literal, opening their show with a black muscle tee pronouncing "MUSIC" in like, Ariel font; from there, you got the feeling the ACNE design crew are the types who like "every genre, including country." Comfortable tailoring was key, with pants so wide-legged you could hide Carrie Underwood in them, and a contrasting, structured drop-crop skinny trouser with a ventilated flap for when your ankles get hot from too much dancing. In case they weren't literal enough: COLLAGE.

Elsewhere, it was hard not to flip for Mary Katrantzou, who blew out postage stamps she collected from around the world onto dreamy caped frocks for the global traveler, or Henry Holland's tie-dyed SweeTart dresses, soundtracked by Deee-Lite's "Groove is in the Heart." But we're holding our breath especially for (favorite designer ever) Ashish, man of many sequins, and Meadham Kirchhoff, whose lines have a distinct roots in specific music — both of whom show today. And as this last day of LFW unfolds, we level this question to NYC, our hometown: why so serious?